Renaud Héléna Künstlerisches Portfolio
←
→
Transkription von Seiteninhalten
Wenn Ihr Browser die Seite nicht korrekt rendert, bitte, lesen Sie den Inhalt der Seite unten
Renaud Héléna Künstlerisches Portfolio
Ohne Titel (Modell Bleuet), 2020, Tinte auf Papier auf Graukarton montiert, Buchbinderleinen, 60 × 60 × 40 cm (verschiedene Dimensionen), Atelieransicht
Ohne Titel (Chromomachie), 2020, MDF, Papier, Gouache, Lack (verschiedene Dimensionen), Ansicht der Ausstellung “Casina”, Kapelle Saint-Gimer, Carcassonne
Ohne Titel (Chromomachie) ist ein abstrak-
tes Spiel, das den Spielern die Möglichkeit
bietet, gemeinsam eine Anordnung von
Form und Farbe herzustellen. Ein Narrativ
entsteht, während Spieler*innen sich en-
gagieren, zwischen offensiven und defen-
siven Taktiken wählen und auf gegnerische
Strategien reagieren.
Das Kunstwerk erlaubt es, Situationen zu
inszenieren, die in der Neuroökonomie un-
tersucht wurden (Vertrauensspiel, Ultima-
tumspiel), um Emotionen und Rationalität
in der individuellen Entscheidungsfindung
zu bewerten und die Rolle von Gerechtig-
keit und Reziprozität in sozialen Interak-
tionen zu beleuchten.
01 Ohne Titel (Chromomachie), 2020, MDF,
Papier, Gouache, Lack (verschiedene
Dimensionen), “Casina”, Kapelle
Saint-Gimer, Carcassonne
Ohne Titel (Séance), 2019, Satz von 132 Karten, Sanduhr, Papier auf Karton montiert, Atelieransicht
Ohne Titel (Séance) ist von Eisbrecherspiel-
en und Spielen um geheime Identitäten in-
spiriert. Die Spieler*innen sind eingeladen,
Wahrheiten oder Lügen über ihre Vergan-
genheit oder ihre nahe Zukunft zu teilen.
Die Begegnungen sind nie abgeschlossen,
doch durch die Restriktionen des Spiels
entsteht eine Verbindung, die eine andere
Form von Wahrheit entstehen lässt.
01 Ohne Titel (Séance), 2019, Satz von
132 Karten, Sanduhr, Papier auf Karton
montiert, “Vorhersagen”, Pop-up Galerie
Schaffen Wir, Berlin
02
01
01 Ohne Titel (Séance), 2019, Satz von
132 Karten, Sanduhr, Papier auf Karton
montiert, “Vorhersagen”, Pop-up Galerie
Schaffen Wir, Berlin
02 Ohne Titel (Zaubertrick), 2019, Krepp–
papier, Graupappe, Holz, Seil, 240 x 160
x 80 cm, “Vorhersagen”, Pop-up Galerie
Schaffen Wir, Berlin
02 Ansicht der Ausstellung “Vorhersagen”, 2019, Pop-up Galerie Schaffen Wir, Berlin
03 Ohne Titel (Zaubertrick), 2019, Krepp–
papier, Graupappe, Holz, Seil, 240 x 160
02 x 80 cm, “Vorhersagen”, Pop-up Galerie
Schaffen Wir, Berlin
01 02
03
04
Ansicht der Austellung “Dungeons”, 2018, Projektraum Ventilator, Berlin01
02
01 Ohne Titel (Etappe), 2018,Tusche auf
Papier auf Graukarton montiert, 28 x 38
cm, “Dungeons”, Projektraum Ventilator,
Berlin
02 Ohne Titel (Why), 2018, Gouache
und Tusche auf Papier auf Graukarton
montiert, Buchbinderleinen, 29 x 38
04 cm, “Dungeons”, Projektraum Ventilator,
Berlin08 03 Ohne Titel (Dungeon), 2018, Gouache und Tusche auf Papier auf Graukarton montiert, Buchbinderleinen, 60 x 45 cm “Dungeons”, Projektraum Ventilator, Berlin 03 04 Ohne Titel (Ausstellungsmöbel), 2018, Geschnittet Messeteppisch, Regal und Tisch (verschiedene Dimensionen), 04 “Dungeons”, Projektraum Ventilator, Berlin
Ohne Titel (Rennen) ist von einem
Rennspiel inspiriert. Über den for-
malen Aspekt hinaus konstituiert
das Vorhandensein von Farben und
Zeichen ein System, welches es
ermöglicht, ein Rennen zu spielen,
dessen Ausgang in Frage gestellt
werden kann, da die Pfeile die Spie-
ler*innen immer auf eine vorherige
Position zurückbringen.
06 Ohne Titel (Rennen), 2018, Gouache
und Tusche auf Papier auf Graukarton
montiert, Buchbinderleinen, 20 × 40
cm, “Dungeons”, Projektraum Ventilator,
Berlin
0506 06 Ohne Titel (Mona), 2018, Tusche auf Papier auf Graukarton montiert, Buch- binderleinen, 30 x 40 cm, “Dungeons”, Projektraum Ventilator, Berlin
01
02
03
01 Ohne Titel (Emotionen), 2016, Gouache auf Papier, 31 x 41 cm Ansicht der Austellung “Self-Help” mit Céline Germès, 2016, Spinnerei, LeipzigDie Serie „Selbsthilfe“, ein Schreib-
und Zeichenprojekt, befasst sich mit
persönlicher Entwicklung. Mit Ohne
Titel (Trophäe) macht sich Renaud
Héléna die Unternehmenstrophäe
zu Eigen, die den Arbeitsplatz als
einzigen Bezugspunkt für Erfolg
markiert. Er spielt mit übertriebe-
nem Positivismus, um die Rhetorik
ihrem Sinn zu entheben. Die Texte
sind mit leeren Worthülsen gespickt,
suggerieren aber auch die Ambi-
valenz dieser Sprache, die lebendig
wird, sobald wir sie mit unseren
Sehnsüchten aufladen.
Renaud Héléna
In appreciation of
your diligence and commitment
April, 2016
02 Ohne Titel (Trophäe), 2016, Texte und
Vektorgrafiken, Tintenstrahldruck
0203 Ohne Titel (Cedar), 2016, Gouache auf Papier, 32 × 42 cm
01
02
Ansicht von der Installation „Nil Darpan“, 2017, Der Blaue Raum, Jüdisches Museum Berlin, BerlinDiese Werkserie wurde als Teil eines 01 USE OF
FINGERPRINT
Kunstprojekts konzipiert, das auf Around 1858 Chief Magistrate Sir
William James Herschel first used
fingerprints on every contract made
der Begegnung zwischen Künstlern
with locals. “Herschel found himself
enforcing the brutal contracts for
HIGH DEMAND indigo between Zemindars, peas-
IN EUROPE FOR ants and manufacturers. [...] All of
und Flüchtlingen basiert. Renaud
the accounts of the emergence of
INDIGO DYE colonial fingerprinting stress the
power of the logic of writing in shap-
Bengal Indigo Contracts Act, Act 10 of ing the trajectory of co- ercive sys-
As soon as the American revolution 1836, enacted by the Governor-Gener-
Héléna bezieht sich auf das Stück
began to threaten indigo shipments tems of registration in India.”
al-in-Council, helps to consolidate Brit-
from Britain's North American colo- ish rule over indigo farming by enforcing 1 Keith Breckenridge, Biometric State: The Global Politics of
Identification and Surveillance in South Africa, 1850 to the Present
nies, a plan took shape around 1770 its cultivation. (Cambridge University Press, 2014), 63.
to turn Bengal into the Britsh textile
„Nil Darpan, der Indigospiegel“, das
industry's main supplier of blue
dye.¹
1 Pierre-Paul Darrac, Willem van Schende, Global Blue: Indigo
and Espionage in Colonial Bengal (University Press Ltd., 2006),
Dinabandhu Mitra 1861 während der
18.
Indigo-Unruhen in Bengalen schrieb.
Es beschreibt die Schrecken der Aus-
RYOTWARI SYSTEM
BRITISH EAST The planters forced the ryots to
sign a contract to cultivate
PEASANTS
INDIA COMPANY indigo. The peasants received a
(RYOTS)
beutung, die Brutalität des Rassismus (BEIC)
loan from plan- ters to cultivate
their land. The village headman
was also forced to sign an
agreement on behalf of the
und die Gewalt, die von englischen ryots.
Siedlern begangen wurde, um die
bengalischen Bauern zu zwingen, RYOTWARI SYSTEM
The BEIC lowered the price of
Indigo für Europa zu produzieren.
indigo to 2,5 % of the market
price.
DEBTS
The Ryots didn’t suc-
ceed in making enough
money to repay their
loans to planters and
were forced to contin-
ue cultivating indigo to
cover their debts. The
cycle of loans was nev-
er-ending.
RYOTWARI SYSTEM
BRITISH
The planters insisted that indigo
be cultivated on the best soils on
which peasants prefered to culti-
vate rice. However, indigo plants
PLANTERS exhaust the soil fertility and
make the land unfit for rice culti-
vation.
(SAHEB)
INDIGO
OPPRESSION REVOLT SUPPORT FROM MIDDLE
AND In the autumn of 1859, localized acts of resistance
by the peasantry against colonial economic poli- CLASS, INDIAN ARISTO-
COERCION cies turned into a general uprising in nine districts
of Bengal. They decided not to grow indigo and
CRATS AND LANDOWN-
revolted against the planters who were backed by ERS (ZAMINDARS), AND
police and the courts.
MISSIONARIES
TOGETHER WITH INDIAN
ARISTOCRATS AND LAND-
01 Ohne Titel (schéma), 2017, Texte und OWNERS (ZAMINDARS)
EAGER TO ASSIMILATE The government appointed the NIL DARPAN, THE
Vektorgrafiken, Tintenstrahldruck THE BRITISH CULTURE
indigo commission, and finally,
the peasants’ demands were
INDIGO PLANTA-
AND ECOMONY. partially met with the passage TION MIRROR
of the Rent Law Act of 1885.
Nil Darpan, written in 1860 by
Dinabandhu Mitra, is a drama de-
picting the pitiable condition of
Bengali peasants under the tyranny
of indigo planters . The Rev. Mr. J.
Long, first publisher of the English
version, was indicted for publishing
foul and malicious libel.
“Nil Darpan brought the struggle for
power among state officials, church
missionaries and the indigo plant-
Though the natural blue dye ers to its culminating point.”¹ It
never lost its sheen, its produc- “thus catalyzed a policy of dramatic
tion in India under the British censorship that was to become
saw a tremendous decline after another legal mechanism of imperi-
al control over the cultural life of
synthetic indigo dye was devel- the colony.” ²
oped by German chemist Adolf 1 Nandi Bhatia, Acts of Authority/Acts of Resistance Theater
von Baeyer in 1878. and Politics in Colonial and Postcolonial India (Oxford
University Press, 2004), 30.
2 Ibid., 34.02
could get his
hands on her. But since
he didn't promote me de-
spite me giving him my sister,
why would he do it for this girl fer-
instead...? But, she's not that tile land. Today,
bad! No harm in trying. the foreman has taken
Reboti. Khetro, go to your room. the rest. All of this has been
Khetromany leaves from the right done without my consent.
The Foreman. Now, Sadhu, don't What can I say, Sir? But I guaran-
make any trouble, come with me tee you that I will grow your
to the factory. indigo without any advance pay-
Reboti. (To the foreman, holding ment.
I s
him) Oh, Sir! He just wanted to Mr. Wood. What? If there's no ad-
your father here?
drink some water... How can vance, there's no rules, bastard,
Khetro. He's gone to
he go to the Saheb, which dirty pig, ungrateful…! (Whips
the Eldest Babu's house,
is so far away, without him)
but he'll be back soon. What
eating first? (To Nobin. (Covers the back of
were you talking about?
the audience) Sadhu with his hand) My Lord,
Ray. Nothing. Now, bring me
Why did we you've almost killed him! This
some water, would you...? I'm
come to this damned poor man has a whole
dying of thirst.
place just to become family to feed…! You also
Khetromany exits to left
beggars? have a family,
(To the audience) I begged and
We're doomed. Saheb! How would
begged, but that pig wouldn't
The Foreman. Oh, your wife feel if you were
listen!
stupid woman! taken prisoner at dinner without laws
Sadhu enters from right
Stop grunting. If time? where villains do as
Sadhu. Ray, why did you
you want to give Mr. Wood. (To Nobin) Shut they please. Under Brit-
come so early?
him water, do it up, you piece of shit! You ish power, no one can
Ray. It's this bastard
quick or else I'll take will sign for an advance kidnap anyone!
of a him. of sixty bighas for Reboti. Oh Mother! Any form
foreman! He's They all leave to the left, indigo plantation. of violence can be committed
marked off our land. How the Foreman being the Then, afterwards, I in a ryot's house. Taking away
shall we eat? How will we last will let you go, or the women and forcing their
survive...? With these else I will break husbands to accept the ad-
lands, we used to be able Act I that whip on your vance payment to grow
to pay back all our debts! Scene 3 head! indigo.
(To the audience) What a Nobin. Oh Mother Sabitri. What anarchy is
disaster! What this white The factory of Be- Earth! Never, this! This is horrible! Did
man's indigo has done to gunbari. On the you inform Sadhu?
ever
us? verandah of the Reboti.
in my life, have I
Ray falls on his knees and large bungalow, N o ,
been so humiliat-
covers his face with his hands Mr. Wood and Gopi stand mother. He
ed...! (Laments)
Sadhu. We were hoping to next to the table upon which is was already mad be-
Gopi. Nobin, you
farm this land and now, paper and an inkstand. cause of the indigo. If
better go home, don't
if it's gone, why Sadhu, Ray and the two he hears this, he might,
make anymore trouble.
should we stay Guards enter from right out of rage, bash his
Nobin. Sadhu, pray to
here? (Putting own head with an axe.
God. He's the only one
his hands on Ray's Mr. Wood. Why are Sabitri. Very well, I'll
standing by the help-
shoulder) Don't cry little these bastards' hands ask my husband to talk
less.
brother... tied up with ropes? to Sadhu. What mis-
Nobin walks away from
Khetromany and Reboti enter Gopi. My Lord, this fortune this is!
right and Ray walks
with a water bottle from left Sadhu is a well T h e s e
next to Sadhu
Tomorrow we'll sell the plough, known ryot. indigo
Mr. Wood. Slaves
the cows, say goodbye to this But planters
and sons of
village and go work for the can do
slaves...!
Zemindary Babu Basanta. a n y -
Secre-
Khetromany gives the water t h i n g .
to Ray Then why do
Now, have some water, I hear that
don't loose hope, the Sahebs
drink... Tell me, what are reli-
did you say to the fore- a b l e ?
man? These En-
under Nobin's influ- tary, do glish
ence, he's been trying to damage our indigo your lousy job,
Ray. What crop. give him the ad- vance
Act I could I have The Guards untie Ray and Sadhu payment.
Scene 2 said? He began to Sadhu. My Lord, I've never done anything to
mark off the land, carv- your indigo, nor will I today. I'm a poor ryot, I Mr. Wood walks away from left and Gopi
The house of Sadhu Churn ing a bright red line in the only have twenty bigahs of land. If nine are gives paper to Sadhu planters are
Ray enters from left (coming ground as if he was thrust- used for indigo, obviously I'm not going to be also Sahebs,
back from work, tired and ing a burning stick into my happy. But my Lord, what's in it for you? It's Act I aren't they ?
sweaty) heart. I fell at his feet, only my death. SCENE 4 (Silence) Now evening has come
offered him money, but he Gopi. The Saheb fears you will have him upon us, Reboti Ghose, you better go
Ray. (To the audience) That bas- didn't listen. He said, “Go to locked up in your Eldest Babu's godown. The Eldest Babu's hall, home. May the Goddess Durga be with
tard of a foreman, what a beast! your Eldest Babu! Go see Sadhu. Now, Mr. Secretary, you give a dog a Soirindri , Sabitri and Aduri you.
He came upon me like a tiger. him, he's the master.” I told bad name and hang him. How should a are seated on the sofa, Reboti. I'll go mother.
I thought he was about to eat him I'd take him to court. meaningless creature like me imprison the Reboti and Khetromany enter from right Khetromany and Reboti exit to the right
me… That villain didn't hear a Ray stands up, Khetromany mighty, the powerful Saheb?
word, and violently marked off the and Reboti move to the right Gopi. Sadhu, stop your rhetorical blubber- Soirindri. Welcome, my dear sister, I was Act V
ground where to plant the indigo. (Seeing the foreman at a ing. It doesn't sound so good coming from a hoping you'd visit. Scene 2
But if they take five bigahs, how distance from the left) peasant's mouth. It's like a sweeper's broom Reboti. Thank you for your kind words.
will I be able to feed my family? Look, that bastard, touching my body. Khetro, bow down before your aunts. The bedroom of Nobin Basu
(Raises his hands) How can I he's coming with Mr. Wood. That rascal has become very Khetromany bows down Aduri pushes the bed onto the stage
keep going if they don't give his guards. wise. Soirindri. (Blessing Khetromany) Remain
me back my land? Gopi. My Lord, since the school opened in with your husband for life; wear vermilion Aduri. Ah! What should I do? Where to go now? My
Khetromany enters the village, the ryots are making more and even in your white hair, and the next time you heart is broken. They've beaten him so severely
from left more trouble! go to your father-in-law's house, take your that he's barely breathing...! Our mistress will
They will take us to
the Saheb's factory. Mr. Wood. I'll write our Indigo Plant- new-born son with you. die when she sees him.
The Foreman and the two ers' Association to petition the Nobin calls from aside "Aduri" Sadhu. (Aside) Aduri, can we come now?
Guards enter from left, Bas- Government. We'll fight until Sabitri. (To Soirindri) Oh! my daughter, go. I Aduri. Yes, yes… Bring him. No one's here.
Sadhu walks towards The tard! the schools close. think, he's asking for water. Enter Sadhu and Torapa carying Nobin's corpse
Foreman, the two Guards You have Gopi. That fool wants Soirindri. (To Aduri) Aduri, he's calling you. Sadhu. (Laying Nobin's body on the bed) Where is our
go behind and hold each twenty bigahs, to bring the case to Aduri. Calling me, but asking for you. mistress?
Sadhu and Ray, we're just going court. Soirindri. Smart mouth...! Sister Ghose let's Aduri. With everybody outside waiting for him. Will she
Reboti walks forward to use nine for the Mr. Wood walks meet another day. survive when she sees her dead son? How many people's
and Khetromany indigo. Why can't you towards Sadhu Soirindri leaves from left, lives will be destroyed now that the Eldest Babu will
steps back- grow rice on the rest? Mr. Wood. Sabitri, Khetromany and Reboti sit never get up again! Why did he let his son go to the Saheb
ward. Gopi. My Lord, we can (To Sadhu) Reboti. Oh my mother, now that we're today?
easily take over the twenty Y o u alone. Some great danger has befallen me. Sadhu. Our madam and Soirindhri begged Nobin not to
The bighas... p i e ce Podi, the sweetmeat maker, came to our go. Soon after, he brought me to the indigo field along with
Foreman. Bind the Sadhu. (To himself) Oh my god...! o f house yesterday. Torapa, and with tears in his eyes, he said to the English,
hands of that damned The witness for the spirit-seller is shit Sabitri. My god! My god! Who allows that “Sir, I bring you a present of fifty rupees. I beg you, only for
Ray, that dirty pig, tie him up the drunkard! (Openly) Indigo ! nasty fool to enter your house? What's left of this year, to stop planting indigo in the rice fields. Even if you
now! requires four times as much work than her virtue? It's over for her, she's known to be don't accept, please take the money and, out of pity, don't
The Guard ties Ray's hands and paddies. And if I have to grow indigo a real hooker. sow this land before my father's funeral is over.” This monster
Reboti walks over to Sadhu myself, what's left will remain barren. Reboti. My mother, but what could I have replied, “Your father hung himself in the English prison like
Reboti. (To the foreman) Oh, my god! What are Mr. Wood. Bastard! Scum! Take the ad- done? My house isn't surrounded by walls. thieves and robbers do.” Then kicking Nobin's knee, he said:
you doing? It's horrible! (To Sadhu) Don't stand vance payment and grow the indigo, you And you know what she told me? The “This is the gift for your father's ceremony.”
02 Ohne Titel (Hand), 2017, Texte und
here looking at this! Go to the Eldest Babu's house and piece of shit! (Grabs Sadhu's wrist and pull thought of it makes me shiver. This dread- Aduri. Oh my god! Oh my god! (Placing his hand on his ears)
tell him to come. him towards the table and kicks him with his ful creature told me that the young En- Sadhu. Nobin's eyes became red, then he jumped on the En-
The Foreman. (To Sadhu) Where do you think you're feet) You're going to get a taste of my whip! glish planter, as he was riding his horse, glish who fell to the ground. The factory's chieftain and ten
Vektorgrafiken, Tintenstrahldruck
going? You come with me, you hear? We won't make (Takes the whip) saw Khetromany and fell for her. She guards stood around him. The Eldest Babu had once saved
any advance payment to this Ray. It's not enough to Sadhu. My Lord, why swat a fly and soil your wanted to bring my daughter to the them from a case of robbery; so they felt a bit ashamed to
sign with your thumbprint. You are educated, you hands, we are... factory. raise their hands against him. (Silence) The English gave a
will sign your name on the factory account book. Ray. (Angrily) Sadhu, shut up my brother near Aduri. How awful...! What a horrible blow to the chieftain, took his stick and smashed it against
Sadhu. Sir, do you call this giving me an advance and sign the paper they gave you... The day is him! smell of onions! How can we stay Nobin's head. His head fractured open. Nobin fell to the
on indigo? Aren't you just forcing it down my almost over and we haven't been able to How next to a Saheb. Awful! Awful! To ground unconscious. Then Torapa, who was observing
throat instead? (To the audience) Oh misery, either bathe or eat yet. I'm starving. awful! breathe this horri- ble onion from a distance, rushed violently towards the group, took
you're still with me. This land was Rama's Gopi takes Sadhu's hand and press it in the That smell! I can bear anything but Nobin's body and fled.
kingdom before indigo was established inkstand and then on the paper horrible the smell of onions... How Torapa. The Eldest Babu told me to stand back since
here. Now see your poor son becoming a Mr. Wood. So you didn't go to the court yet, onion awful! they might attack me. But I wouldn't have hidden if I
beggar and famine has spread across this admit it, you fool! (Twists Ray's ear and makes smell! Reboti. That foolish had known they would beat Nobin... If I had jumped in
land. him kneel) Reboti. woman says, he will give sooner, I would have saved him. Oh! Allah! He helped
Reboti. (Walks over to the foreman, Ray. (Breathless) Oh mother! Mother...! It Mother, u s money, leave our me so many times, but I wasn't able to defend him
pointing at Ray) Show him mercy! At hurts... t h a t rice field and also pro- once. (Placing his hand on his face)
least let him drink some water. Mr. Wood. Bloody digger, you're in for it! damned vide our son-in-law Aduri. What is this blood around Torapa's
The Foreman. (Aside, observ- (Whips Ray) woman just with a good job. I curse mouth?
ing Khetromany) That girl's Nobin enters from right said, “If you money! Is virtue some- Sadhu. Torapa was furious. Like an wounded
good looking, the Ray. Oh Baro Babu, I'm dying! I need some d o n ' t thing to be sold? Has it mongoose showing its teeth and biting, he
young Saheb water. They're killing me. s e n d h e r any price? bit off the english man's nose.
would be Nobin. Saheb, if you whip all your peasants with me, his Aduri. Oh, that beard! Torapa. I'm keeping his nose. I'll show it
happy if to death, who's going to cultivate your guards When he speaks he to Nobin as soon as he gets better.
he indigo? Please, let them go. will take her.” bleats like a goat, he (Shows the nose) If the English hadn't
Mr. Wood. (To Nobin) Mind your own busi- Sabitri. We never shaves and run away, I would have torn his ears
ness! don't live in a doesn't stop eating off too, off that bastard. I will hide
Sadhu. Last year, you took four country onions. I could inside the barn, and when
bighas of my most never get night falls, I'll run away.03 Ansicht der Installation „Nil Darpan“, 2017, Der Blaue Raum, Jüdisches Museum Berlin
Das Video wurde in Workshops pro-
duziert, in denen die Teilnehmer des
Kunstprojekts gemeinsam impro-
visierten und mit pantomimischen
sowie dramaturgischen Übungen
Szenen aus dem Stück evozierten.
Das Fehlen eines theatralischen
Spiels schafft eine radikale Distanz
zwischen der Aufführung und dem
dramatischen und bisweilen bru-
talen Charakter des Textes.
03 Ohne Titel (Nil Darpan), 2017, Video,
20 mn, Online-Version: https://vimeo.
com/22957810302
03
03 04
01
05
01 Ohne Titel (Buswartehallen), 2014, PVC, Krepppapier,
Kleister, 91 x 140 x 110 cm Ansicht der Austellung “Vorort”, 2015, Pop-up Galerie Schaffen Wir, BerlinDie Ausstellung Vorort zeigt aufein-
ander aufbauende und sich räumlich
überschneidende Origami-Architek-
tur, Abgüsse und Videospiel-Pro- 04
jektionen. Die Oberflächen der ver-
schiedenen Skulpturen, nach einem
verbindenden Prinzip von Volumen
und Flächen geschnitten, werden von
Gerüsten getragen. Zwischen Skulp-
tur und Architektur evozieren die
Arbeiten zugleich fremde und vertra-
ute Bruchstücke von Stadtbildern,
die unmöglich in Raum und Zeit zu
verorten sind.
04
05
04 Ohne Titel (Einkaufswagen Unter-
stände), 2015, geformtes Papiermaché,
120 x 200 x 110 cm ,“Vorort”, Pop-up
Galerie Schaffen Wir, Berlin 05
05 Sans titre (Automatiktüren), 2015,
geschnittenes Polypropylen, 100 x 200
cm, “Vorort”, Pop-up Galerie Schaffen
Wir, Berlin03
02
02 Ohne Titel (Barriere), 2015, PVC, Stoff,
130 x 100 x 10 cm
03 Ohne Titel (Point and Click n°3), 2015,
Flash-Animation, Computer, Projektor,
Ansicht von der Austellung “Vorort”, 2015, Pop-up Galerie Schaffen Wir, Berlin TonDas gemeinsam mit Michael Hoh
realisierte Videospiel Ohne Titel (Point
and Click n°3) veranschaulicht auf
ironische Weise das Innere dieser
kommerziellen Räume, in denen die
Realitätswahrnehmung auf eine Reihe
von Topoi reduziert ist. Durch allge-
meingültige Interaktionen erkundet
der Betrachter einen virtuellen Raum, f
in dem sich das Öffentliche mit dem
Privaten vermischt.
“the lamp doesn’t work” “it’s a fake laptop”
03 Ohne Titel (Point and Click n°3), 2015,
Flash-Animation, Computer, Projektor,
Ton (Off-Stimme : Michael Hoh, Verena
Spilker, Tonspur : Michael Hoh)
Online-Version (mit Adobe Flash) :
http://www.renaudhelena.fr/sans_ti-
tre_pointer_cliquer_3.html02
01
04
03
01 Ansicht der Austellung “Herbstrund- 03 Ohne Titel (Ausstellungsmöbel), 2015,
gang” mit Céline Germès, 2015, Spin- Graupappe, Gips, Krepppapier, 50 x 25
nerei, Leipzig x 120 cm
02 Ohne Titel (Modul n°1), 2014, Krepp
papier, Kleister, 14 x 22 x 30 cm04
05
05
04 Ohne Titel (module n°3), 2015, Krepp–
papier, Kleister, 67 x 33 x 11 cm,
“Herbstrundgang”, Spinnerei, Leipzig
05 Ohne Titel (Ausstellungsmöbel), 2015,
Graupappe, Gips, Krepppapier, 70 x 80
x 40 cm, “Herbstrundgang”, Spinnerei,
Leipzig01 03
02
04
01 Ohne Titel (Korso n°3), 2014, Kreppappier, Drahtzaun, Holz,
130 x 170 x 213 cm
03 Ohne Titel (Korso n°1), 2012, Kreppappier, Drahtzaun,
Wäscheständer, 80 x 200 x 80 cm Ansicht der Austellung “Endspiel” mit Rémi Magnouat, 2016, Abtei St-Hilaire, St-Hilaire02
02 Ohne Titel (Korso n°4), 2015, Krepp-
papier, Drahtzaun, Külhschrank, 120 x
140 x 96 cm, “Endspiel”, Abtei St-Hilaire,
St-Hilaire04 04 Ohne Titel (Korso n°2), 2013, Krepp- papier, Drahtzaun, Mülltonne, 60 x 110 x 60 cm, “Endspiel”, Abtei St-Hilaire, St-Hilaire
Renaud Héléna präsentiert seine Ar- Aussagen geben seine Erfahrungen mit Rander-
beiten in Installationen, die Skulptur, Zeich- scheinungen (Wahrsagerei, Selbstentfaltung)
nung und Text vereinen. Er bedient sich dabei wieder, um unser Verhältnis zur Realität und
Zeichensystemen des Scheins und des Spiels, Normalität zu hinterfragen.
um einen Zauber des Scheiterns zu beschwören In seinem Werk beschreitet Renaud
und eine Welt zwischen Inkonsistenz und Au- Héléna unterschiedliche Pfade auf der Suche
thentizität zu schaffen. nach Authentizität in einer Moderne, die sowohl
Geschnittene oder geformte Struktu- Rationalität als auch emotionale Erfüllung
ren und Flächen aus nur scheinbar wertvollen fordert. Durch die Installation als mis-en-scène,
Materialien veranschaulichen sein Interesse an als textuelle Spur oder als Vorschlag, spiele-
einem Spiel aus Farben, Formen und Texturen. rische Erfahrungen zu sammeln, bedient er sich
Die hybriden szenischen Elemente, die Werke Formen der Theatralisierung, des Spiels und
wie auch deren Unterbau, evozieren die funktio- der Verkleidung, um eine andere Beziehung zu
nale Ästhetik und die zusammengestückelten Raum und Identität herzustellen.
Formen wilder Aneignung der urbanen Welt
und bauen eine Brücke zwischen dem Gewöhn-
lichen und dem Fantastischen.
Seine fiktionalen oder spielbaren Texte
gemahnen Mind Maps, Rezepten, Erfahrungs-
berichten, Brettspielen oder Videospielen. Sie
nähern sich auf humorvolle Weise den Grenzen
der Sprache, wobei Aussagen auf eine Reihe von
Gemeinplätzen reduziert werden. Die empfohle-
nen Abläufe seiner Spiele erinnern dabei an
Konversationsspiele, Spiele um geheime Iden-
titäten oder Management-Tools. AutofiktionaleSie können auch lesen
